Name	Bossa nova
Bgcolor	olive
Color	white
Stylistic origins	Samba, jazz
Cultural origins	1957 (Rio de Janeiro's South Zone) - 1963
Instruments	Classical guitar, piano, electronic organ, acoustic bass and drums
Popularity	Widely known in Brazil, also significant in the United States, Western Europe, Japan and the Philippines.
Subgenrelist	List of bossa nova genres
Subgenres	Tropicalismo ''(Tropicalism)''
Other topics	Bossa Nova (dance) }}

Bossa nova (; literally "New Trend") is a style of Brazilian music. Bossa nova acquired a large following in the 1960s, initially consisting of young musicians and college students. Since its birth, the bossa nova movement contributed with its style and a number of songs to the standard jazz repertoire.

Origin of the term "bossa nova"

In Brazil, to do something with "bossa" is to do it with particular charm and natural flair, as in an innate ability. In 1932, Noel Rosa used the word in a samba, which went "O samba, a prontidão e outras bossas / São nossas coisas, são coisas nossas" ("The samba, the readiness and other ''bossas'' / Are our things, are things from us"). As yet, the exact origin of the term "bossa nova" remains uncertain. What is certain is that the term "bossa" was used to refer to any new "trend" or "fashionable wave" within the artistic beach-culture of late 1950s Rio de Janeiro. The term finally became known and widely used to refer to a new music style, a fusion of samba and jazz, when the now famous creators of "bossa nova" referred to their new style of work as "a bossa nova," as in "the new thing."

Brazilian author Ruy Castro, in his book ''Bossa Nova'', claimed that "bossa" was already in use in the 1950s by musicians, as a word to characterize someone's knack for playing or singing idiosyncratically. He cites a claim that the term "bossa nova" might have first been used in publicity for a concert given in 1958 by the Grupo Universitário Hebraico do Brasil (University Hebrew Group of Brazil), consisting of Sylvinha Telles, Carlinhos Lyra, Nara Leão, Luizinho Eça, Roberto Menescal, et al. They were likely using the term "bossa nova" then as a generic reference to what they were doing in music at the time, which had no particular name yet. However, the term took hold as the definition of their own specific artistic creation, which became known as "bossa nova," and is often simply known as "bossa" today.

Origins and history of "bossa nova" musical style

The musical style evolved from samba but is more complex harmonically and less percussive. Bossa nova emerged primarily from the upscale beachside neighborhoods of Rio de Janeiro as opposed to Samba's origins in the favelas of Rio. Certain similar elements were already evident, even influencing Western classical music like Gershwin's Cuban Overture which has the characteristic 'Latin' clave rhythm. The influence on bossa nova of jazz styles such as cool jazz is often debated by historians and fans, but a similar "cool sensibility" is apparent.

Bossa nova was developed in Brazil in the mid 1950s, with its creation being credited to artists including Johnny Alf, Antonio Carlos Jobim and João Gilberto. One of the first songs was "Bim-Bom"(Gilberto). Bossa nova was made popular by Dorival Caymmi's "Saudade da Bahia" and Elizete Cardoso's recording of ''Chega de Saudade'' on the ''Canção do Amor Demais'' LP, composed by Vinícius de Moraes (lyrics) and Antonio Carlos Jobim (music). The song was soon after released by Gilberto.

The initial releases by Gilberto and the internationally popular 1959 film ''Orfeu Negro'' ("Black Orpheus")(film score by Luiz Bonfa) brought significant popularity of this musical style in Brazil and elsewhere in Latin America, which spread to North America via visiting American jazz musicians. The resulting recordings by Charlie Byrd and Stan Getz cemented its popularity and led to a worldwide boom with 1963's ''Getz/Gilberto'', numerous recordings by famous jazz performers such as Ella Fitzgerald (''Ella Abraça Jobim'') and Frank Sinatra (''Francis Albert Sinatra & Antônio Carlos Jobim''). Since that time, the bossa nova style maintains a lasting influence in world music for several decades and even up to the present.

The first bossa nova single to achieve international popularity was perhaps the most successful of all time, the 1964 Getz/Gilberto recording "The Girl From Ipanema", edited to include only the singing of Astrud Gilberto, Gilberto's then wife. The resulting fad was not unlike the disco craze of the 1970s. The genre would withstand substantial "watering down" by popular artists throughout the next four decades.

An early influence on bossa nova was the song "Dans mon île" by French singer Henri Salvador, featured in the 1957 Italian movie ''Europa di notte'' by Alessandro Blasetti; the song was distributed in Brazil and covered later by Brazilian artists Eumir Deodato (''Los Danseros en Bolero'' - 1964) and Caetano Veloso (''Outras Palavras'' - 1981). In 2005, Henri Salvador was awarded the Brazilian Order of Cultural Merit, which he received from singer and Minister of Culture, Gilberto Gil, in the presence of President Lula for his influence on Brazilian culture.

Instruments

Bossa nova is most commonly performed on the nylon-string classical guitar, played with the fingers rather than with a pick. Its purest form could be considered unaccompanied guitar with vocals, as exemplified by João Gilberto. Even in larger, jazz-like arrangements for groups, there is almost always a guitar that plays the underlying rhythm. Gilberto basically took one of the several rhythmic layers from a samba ensemble, specifically the tamborim, and applied it to the picking hand.

Though not as prominent as the guitar, the piano is another important instrument of bossa nova; Jobim wrote for the piano and performed on it for most of his own recordings. The piano has also served as a stylistic bridge between bossa nova and jazz, enabling a great deal of cross-pollination between the two. In addition to the piano, the electronic organ is also prominently featured on many classic bossa nova tracks, such as "(So Nice) Summer Samba" by Walter Wanderly.

Drums and other percussion are generally not considered essential bossa nova instruments. Nonetheless, there is a distinctive bossa nova drumming style like that of Helcio Milito and Milton Banana, characterized by continuous eighths on the high-hat (mimicking the samba Pandeiro) and tapping of the rim or "rim clicks" in a clave pattern. The bass drum usually plays on "1-&3-&1".

Lush orchestral accompaniment is often associated with bossa nova's North American image as "lounge" music. It is present in many of Jobim's own recordings, and in those of Astrud Gilberto. Dusty Springfield would both feature and epitomize this element on her Philips recording of "The Look of Love", a song written by Burt Bacharach and Hal David, and one of the most respected American pop interpretations of the bossa nova. (That version is not the Phil Ramone version Springfield first recorded.) The unique aural texture of bossa strings, when used, is an important secondary characteristic of the genre. Bossa nova is at heart a folk genre, and not all bossa nova records have strings.

Structure

Bossa nova has at its core a rhythm based on samba. Samba combines the rhythmic patterns and feel originating in former African slave communities. Samba's emphasis on the second beat carries through to bossa nova (to the degree that it is often notated in 2/4 time). However, unlike samba, bossa nova doesn't have dance steps to accompany it. When played on the guitar, in a simple one-bar pattern, the thumb plays the bass notes on 1 and 2, while the fingers pluck the chords in unison on the two eighth notes of beat one, followed by the second sixteenth note of beat two. Two-measure patterns usually contain a syncopation into the second measure. Overall, the rhythm has a "swaying" feel rather than the "swinging" feel of jazz. As bossa nova composer Carlos Lyra describes it in his song "Influência do Jazz", the samba rhythm moves "side to side" while jazz moves "front to back". Bossa nova was also influenced by the blues, but because the most famous bossa novas lack the 12-bar structure characteristic of classic blues, as well as the statement, repetition and rhyming resolution of lyrics typical of the genre, bossa nova’s affinity with the blues often passes unnoticed.

In terms of harmonic structure, bossa nova has a great deal in common with jazz, in its sophisticated use of seventh and extended chords. The first bossa nova song, "Chega de Saudade", borrowed some structural elements from choro; however, later compositions rarely followed this form. Jobim often used challenging, almost dissonant melody lines, the best-known being in the tunes "Desafinado" ("Off-Key"). Often the melody goes to the altered note in the chord. For example, if the chord is DM7#11, the note sung in the melody line there would be G#, or the sharp 11.

Aside from the guitar style, João Gilberto's other innovation was the projection of the singing voice. Prior to bossa nova, Brazilian singers employed brassy, almost operatic styles. Now, the characteristic nasal vocal production of bossa nova is a peculiar trait of the caboclo folk tradition of north-eastern Brazil. Gilberto managed to dramatically reduce that to a subtle near-whisper.

In the early bossa nova recordings, in terms of lyrical themes and length of songs (typically two to four minutes), bossa nova's was very much a popular-music style. However, its song structure often differs from European and North American popular music's standard format of two verses followed by a bridge and a closing verse; bossa nova songs frequently have no more than two lyrical verses, while many lack a bridge. Some of João Gilberto's earliest recordings were less than two minutes long, and some had a single lyrical verse that was simply repeated.

The lyrical themes found in bossa nova are women, love, longing, and the best of youth.

There are two types of bossa nova: the early bossa nova (beginning in the late 1950s), and the bossa nova after the coup d'état of 1964. The musical lyrics of the late 1950s depicted the easy life of the middle- to upper-class Brazilians, though the majority of the population was in the working class. However, in conjunction with political developments of the early 1960s (especially the 1964 coup d'etat), bossa nova's style became more "angry," with lyrics becoming more thematically charged, referring explicitly to people's struggles and liberty.

Modern developments

From the mid-nineties, various other European artists reached out to bossa nova for inspiration, incorporating electronic music and creating styles such as BossaElectrica and TecnoBossa. New singers like Bebel Gilberto, daughter of bossa nova co-creator João Gilberto and singer Miúcha, and new European bands like Nouvelle Vague and Koop, used modern approaches to further interpret this soothing style of music. Broadway composer Stephen Sondheim used a bossa nova rhythm to connote a "nightclub" feeling in his song "The Ladies Who Lunch" from the album ''Company'' (1970).

Notable bossa nova artists

Luiz Bonfa

Chico Buarque

Gal Costa

Eliane Elias

Caetano Veloso

Quarteto em Cy

Gilberto Gil (early years)

Bebel Gilberto

João Gilberto

Astrud Gilberto

Antonio Carlos Jobim

Edu Lobo

Nara Leão

Carlos Lyra

Maysa Matarazzo

Newton Mendonça

Roberto Menescal

Vinicius de Moraes

Paula Morelenbaum

Hermeto Pascoal

Rosa Passos

Baden Powell de Aquino

Elza Soares

Sylvia Telles

Toquinho

Marcos Valle

Oscar Castro-Neves

Bossa nova in pop music outside of Brazil

Over the years the genre of bossa nova has reached beyond its Brazilian and jazz roots, influencing popular music and other popular rhythms.

American entertainer Pat Boone scored a hit in 1962 with "Quando, Quando, Quando", with music by Tony Renis and lyrics by Alberto Testa.

American Jazz musician Dave Brubeck released the album ''Bossa Nova U.S.A.'' in 1962, mixing Jazz with Bossa Nova.

In 1963, Elvis Presley released the hit song "Bossa Nova Baby". The song's only link with bossa nova, however, is the name, as there is nothing in the musical composition of the song that resembles bossa nova.

Also in 1963, Eydie Gorme had a Top 10 hit with the song "Blame it on the Bossa Nova".

In 1967, Frank Sinatra performed several songs with Antônio Carlos Jobim.

Also in 1967, The Doors released the hit song "Break on Through (To the Other Side)", which featured a prominent bossa nova style drum beat by drummer John Densmore.

In 1990, alternative-rock band Pixies released an album "Bossanova".

In 1995, George Michael released "Jesus To A Child", a song influenced by the bossa nova style. The song was dedicated to his former lover, Brazilian Anselmo Feleppa (who died in 1993).

In 2006, The Black Eyed Peas recorded the song "Mas Que Nada" on Sérgio Mendes' album ''Timeless''.

In 2006, Taiwanese singer Jay Chou recorded the Mandarin-language song "迷迭香" ("Rosemary")

Before her solo career, singer Lani Hall sang in the band Brasil '66.

José José started his musical career playing the bass and double bass in a bossa nova trio named "Los PEG".

Shakira was strongly influenced by bossa nova in her 2005 song "Obtener un sí".

References

Further reading

Castro, Ruy (transl. by Lysa Salsbury). ''Bossa Nova: The Story of the Brazilian Music That Seduced the World.'' 2000. 1st English language edition. A Capella Books, an imprint of Chicago Review Press, Inc. ISBN 1-55652-409-9 First published in Brasil by Companhia das Letras. 1990.

McGowan, Chris and Pessanha, Ricardo. ''The Brazilian Sound: Samba, Bossa Nova and the Popular Music of Brazil.'' 1998. 2nd edition. Temple University Press. ISBN 1-56639-545-3

Perrone, Charles A. ''Masters of Contemporary Brazilian Song: MPB 1965-1985''. Austin: University of Texas Press, 1989.

Mei, Giancarlo. ''Canto Latino: Origine, Evoluzione e Protagonisti della Musica Popolare del Brasile.'' 2004. Stampa Alternativa-Nuovi Equilibri. Preface by Sergio Bardotti; afterword by Milton Nascimento. (in Italian)

External links

"It's 20 years ago bossa nova was released to the world at Carnegie Hall in New York" by Rénato Sergio, ''Manchete'' magazine, 1982 (in Portuguese)

"João Gilberto: The Man Who Invented Bossa Nova", by Daniella Thompson, ''Brazzil'' magazine, May 1998

See also

Cha cha

Mambo

Tango

Category:Brazilian music Category:Brazilian styles of music Category:Portuguese loanwords

af:Bossa nova ar:بوسا نوفا zh-min-nan:Bossa nova bg:Боса нова ca:Bossa nova cs:Bossa nova da:Bossanova de:Bossa Nova es:Bossa nova eo:Bossa Nova fa:بوسا نوا fr:Bossa nova gl:Bossa nova ko:보사노바 id:Bossa nova it:Bossa nova he:בוסה נובה ka:ბოსა-ნოვა lb:Bossa nova hu:Bossa nova nl:Bossanova ja:ボサノヴァ no:Bossa nova uz:Bossa nova pl:Bossa nova pt:Bossa Nova ro:Bossa-nova ru:Босса-нова sr:Боса нова fi:Bossa nova sv:Bossa nova tl:Bossa nova th:บอสซาโนวา tr:Bossa nova uk:Босанова wa:Bossa nova zh:巴薩諾瓦

name	Astrud Gilberto
background	solo_singer
birth name	Astrud Weinert
birth date	March 30, 1940
origin	Bahia, Brazil
genre	Bossa nova, Latin Jazz, Brazilian jazz
occupation	Singer, Songwriter, Painter
years active	1963–present
label	Verve Records (1963-1970)CTI Records (1971)Perception Records (1972)Audio Fidelity Records (1977)Denon Records (1982)Polygram Records (1987)Pony Canyon (1996-1997)Magya Productions (2002)
associated acts	João Gilberto, Antonio Carlos Jobim, Vinicius de Moraes, Stan Getz, Walter Wanderley, Stanley Turrentine, James Last Orchestra, Frank Sinatra
website	}}

Astrud Gilberto (born March 30, 1940) is a Brazilian samba and bossa nova singer. She is well known for the Grammy Award-winning song "The Girl from Ipanema".

Biography

Astrud Gilberto was born as Astrud Weinert, the daughter of a Brazilian mother and a German father, in the state of Bahia, Brazil. She was raised in Rio de Janeiro. She married João Gilberto in 1959 and emigrated to the United States in 1963, continuing to reside in the US since then. They divorced in the mid-1960s and she began a relationship with her musical partner, Stan Getz.

She sang on the influential album ''Getz/Gilberto'' featuring João Gilberto, Stan Getz, and Antonio Carlos Jobim. She had never performed professionally, and sang on the recordings at the suggestion of her (then) husband, João Gilberto.

Gilberto's recording of "The Girl from Ipanema" established her as a jazz and pop singer. It sold over one million copies and was awarded a gold disc. In 1964, Gilberto appeared in the films ''Get Yourself a College Girl'' and ''The Hanged Man''. Her first solo album was ''The Astrud Gilberto Album'' (1964). Upon moving to the United States, she went on tour with Getz. Beginning as a singer of bossa nova and American jazz standards, Gilberto started to record her own compositions in the 1970s. Her repertoire includes "The Shadow of Your Smile", "It Might as Well Be Spring", "Love Story", "Fly Me to the Moon", "Day by Day", "Here's That Rainy Day", and "Look to the Rainbow". She has recorded songs in Portuguese, English, Spanish, Italian, French, German, and Japanese.

In 1982, Gilberto's son Marcelo joined her group, touring with her for more than a decade as bassist. In addition, he collaborated as co-producer of the albums ''Live in New York'' (1996) and ''Temperance'' (1997). Her son Gregory Lasorsa played guitar on the ''Temperance'' album on the song "Beautiful You", which features singer Michael Franks.

Gilberto received the Latin Jazz USA Award for Lifetime Achievement in 1992, and was inducted into the International Latin Music Hall of Fame in 2002. In 1996, she contributed to the AIDS benefit album ''Red Hot + Rio'' produced by the Red Hot Organization, performing the song "Desafinado" (Portuguese for "slightly out of tune", or "off key") along with George Michael. Although she did not officially retire, Gilberto announced in 2002 that she was taking "indefinite time off" from public performances.

Her original recording of the song, "Fly Me to the Moon", was edited as a duet using a recording of the same song by Frank Sinatra for the soundtrack of ''Down with Love'' (2003). Her recording, "Who Can I Turn To?", was sampled by The Black Eyed Peas in the song "Like That" from the album ''Monkey Business''. Her vocals on "Berimbau" were sampled by Cut Chemist in his song "The Garden". Her recording of "Once I Loved" was featured in the 2007 film ''Juno''.

The "Astrud" track on Basia Trzetrzelewska's 1987 album, ''Time and Tide'', is a tribute to Gilberto.

Gilberto is an ardent advocate of animal rights.

Discography

Bibliography

''Bossa Nova: The Story of the Brazilian Music That Seduced the World'', Castro, Ruy. 2000. ''(Published in English in 2003).''

References

External links

Official Website

"Desperately Seeking Astrud Gilberto" by Joey Sweeney, ''Philadelphia Weekly'', June 5, 2002.

Category:1940 births Category:Living people Category:Bossa nova singers Category:Brazilian female singers Category:Brazilian jazz singers Category:Brazilian pop singers Category:Brazilian people of German descent Category:Grammy Award winners Category:MGM Records artists Category:Música Popular Brasileira singers Category:People from Bahia Category:Brazilian songwriters Category:Verve Records artists

an:Astrud Gilberto de:Astrud Gilberto es:Astrud Gilberto fr:Astrud Gilberto id:Astrud Gilberto it:Astrud Gilberto he:אסטרוד ז'ילברטו ka:ასტრუდ ჟილბერტო mk:Аструд Жилберто nl:Astrud Gilberto ja:アストラッド・ジルベルト pl:Astrud Gilberto pt:Astrud Gilberto ru:Жилберту, Аструд sk:Astrud Gilberto fi:Astrud Gilberto sv:Astrud Gilberto th:อัสตรุด ชิลเบร์ตู tr:Astrud Gilberto

name	Stan Getz
background	non_vocal_instrumentalist
birth name	Stanley Gayetzky
known as	Stan Getz Nickname "The Sound" for his unique and polished style
born	February 02, 1927Philadelphia, Pennsylvania, U.S.
died	June 06, 1991Malibu, California, U.S.
instrument	Tenor saxophone
genre	JazzBossa novaWest coast jazzCool jazz
occupation	Saxophonist
years active	1943–1991
label	Verve Records
associated acts	Kenny Barron, Bill Evans, J.J. Johnson, Bob Brookmeyer, Dizzy Gillespie, Charlie Byrd, Chet Baker, Gary Burton, Cal Tjader, Woody Herman, João Gilberto,Tom Jobim, Victor Lewis
notable instruments	}}

Stanley Getz (February 2, 1927 – June 6, 1991) was an American jazz saxophone player. Getz was known as "The Sound" because of his warm, lyrical tone, his prime influence being the wispy, mellow timbre of his idol, Lester Young. Coming to prominence in the late 1940s with Woody Herman's big band, Getz is described by critic Scott Yanow as "one of the all-time great tenor saxophonists". Getz went on to perform in bebop, cool jazz and third stream, but is perhaps best known for popularizing the bossa nova, as in the worldwide hit single "The Girl from Ipanema" (1964).

Life and career

Getz was born on February 2, 1927, in Philadelphia, Pennsylvania. His parents were Ukrainian Jews who emigrated from the Kiev, Ukraine area in 1903. The family later moved to New York City for better employment opportunities. Getz worked hard in school, receiving straight As, and finished sixth grade close to the top of his class. Getz's major interest was in musical instruments, and he felt a need to play every instrument in sight. He played a number of them before his father bought him his first saxophone at the age of 13. Even though his father also got him a clarinet, Getz instantly fell in love with the saxophone and began practicing eight hours a day.

He attended James Monroe High School (New York) in the Bronx. In 1941, he was accepted into the All City High School Orchestra of New York City. This gave him a chance to receive private, free tutoring from the New York Philharmonic's Simon Kovar, a bassoon player. He also continued playing the saxophone. His tenor saxophone of choice was the Selmer Mark VI. On early recordings he had used a White Plastic Brilhart Tonalin mouthpiece. He eventually dropped out of school in order to pursue his musical career, but was later sent back to the classroom by the school system's truancy officers.

In 1943 at the age of 16, he was accepted into Jack Teagarden's band, and because of his youth he became Teagarden's ward. Getz also played along with Nat King Cole and Lionel Hampton. After playing for Stan Kenton, Jimmy Dorsey, and Benny Goodman, Getz was a soloist with Woody Herman from 1947 to 1949 in 'The Second Herd', and he first gained wide attention as one of the band's saxophonists, who were known collectively as 'The Four Brothers', the others being Serge Chaloff, Zoot Sims and Herbie Steward. With Herman, he had a hit with "Early Autumn" and after Getz left 'The Second Herd' he was able to launch his solo career. He would be the leader on almost all of his recording sessions after 1950.

In the mid to late 1950s working from Scandinavia, Getz became popular playing cool jazz with Horace Silver, Johnny Smith, Oscar Peterson, and many others. His first two quintets were notable for their personnel, including Charlie Parker's rhythm section of drummer Roy Haynes, pianist Al Haig and bassist Tommy Potter. A 1953 line-up of the Dizzy Gillespie/Stan Getz Sextet featured Gillespie, Getz, Oscar Peterson, Herb Ellis, Ray Brown and Max Roach.

Returning to the U.S. from Europe in 1961, Getz became a central figure in introducing bossa nova music to the American audience. Teaming with guitarist Charlie Byrd, who had just returned from a U.S. State Department tour of Brazil, Getz recorded ''Jazz Samba'' in 1962 and it became a hit. The title track was an adaptation of Antonio Carlos Jobim's "One Note Samba". Getz won the Grammy for Best Jazz Performance of 1963 for "Desafinado," from the same album. It sold over one million copies, and was awarded a gold disc. As a follow-up, Getz recorded the album, ''Jazz Samba Encore!'', with one of the originators of bossa nova, Brazilian guitarist Luiz Bonfa. It also sold more than a million copies by 1964, giving Getz his second gold disc.

He then recorded the album ''Getz/Gilberto'', in 1963, with Tom Jobim, João Gilberto and his wife, Astrud Gilberto. Their "The Girl from Ipanema" won a Grammy Award. The piece became one of the most well-known latin jazz tracks. ''Getz/Gilberto'' won two Grammys (Best Album and Best Single). A live album, ''Getz/Gilberto Vol. 2,'' followed, as did ''Getz Au Go Go,'' a live recording at the Cafe Au Go Go. Getz's affair with Astrud Gilberto brought an end to his musical partnership with her and her husband, and he began to move away from bossa nova and back to cool jazz. While still working with the Gilbertos, he recorded the jazz album ''Nobody Else But Me,'' with a new quartet including vibraphonist Gary Burton, but Verve Records, wishing to continue building the Getz brand with bossa nova, refused to release it. It eventually came out 30 years later, after Getz had died.

In 1972, Getz recorded in the fusion idiom with Chick Corea Tony Williams and Stanley Clarke. Corea and Clarke would go on to form RETURN TO FOREVER, first with drummer Airto, then Lenny White. Many of the pieces, including "La Fiesta", remained in their repertoire. In this period Getz experimented with an Echoplex on his saxophone. He had a cameo in the movie, ''The Exterminator'' (1980).

Toward the end of his life, the then drug-free Getz, had another creative peak with a group including the pianist Kenny Barron, whom Getz described as "my musical other half."

In the mid-1980s Getz worked regularly in the San Francisco Bay area and taught at Stanford University as an artist-in-residence at the Stanford Jazz Workshop until 1988. In 1986, he was inducted into the ''Down Beat'' Jazz Hall of Fame. During 1988, Getz worked with Huey Lewis and the News on their ''Small World'' album. He played the extended solo on the title track, which became a minor hit single.

Personal life

Getz married Beverly Byrne, a vocalist with the Gene Krupa band, on November 7, 1946; they had three children together: Steven, David, and Beverly.

Getz became involved with drugs and alcohol while a teenager. In 1954, he was arrested for attempting to rob a pharmacy to get a morphine fix. As he was being processed in the prison ward of Los Angeles County-USC Medical Center, Beverly gave birth to their third child one floor below. Getz tried to escape his narcotics addiction by moving to Copenhagen. He married Swedish aristocrat Monica Silfverskiöld on November 3, 1956, and had two children with her: Pamela and Nicolas. Getz divorced Monica in 1987.

Zoot Sims, who had known Getz since their time with Herman, once described him as 'a nice bunch of guys', as a consequence of the wide behavioural range of which Getz was capable. In the final stages of his life Getz was able to end his addictions.

Getz died of liver cancer in June 6, 1991. His body was cremated and the ashes scattered at sea, off the coast of Malibu, California.

In 1998, the 'Stan Getz Media Center and Library' at the Berklee College of Music was dedicated through a donation from the Herb Alpert Foundation.

Discography

Compositions

Stan Getz's compositions include "Running Water", "Chocolate Sundae" with Gerry Mulligan, Harry "Sweets" Edison, and Oscar Peterson, "Stan's Blues", "Tootsie Roll", "For Stompers Only", "S'cool Boy", "Ah-Moore (Amour)", "Apasionado" with Herb Alpert and Eddie Del Barrio, "Coba", "Espanola", "Amorous Cat", "Prezervation", "Crazy Chords", "Tour's End", "And The Angels Swing", "Long Island Sound", "Half-breed Apache", "Bronx Blues", "Blues for Herky", "Downbeat", "Pocono Mac", and "Blues for Mary Jane".

Bibliography

''The Stan Getz discography'', Astrup, Arne. 1978

''Stan Getz'', Palmer, Richard. 1988.

''Stan Getz: an appreciation of his recorded work'', Kirkpatrick, Ron. 1992.

''Stan Getz, A Life in Jazz",Donald L. Maggin 1997

''Stan Getz: nobody else but me'', Gelly, Dave. 2002.

''Stan Getz: an annotated bibliography and filmography'', Churchill, Nicholas. 2005.

''Jazz saxophone: an in-depth look at the styles of the tenor masters'', Taylor, Dennis, 2004.

References

External links

Official Stan Getz homepage

1986 Interview

Getz discography

Stan Getz Biography, By John Twomey

Category:1927 births Category:1991 deaths Category:Bebop & Cool jazz saxophonists Category:American jazz saxophonists Category:Grammy Award winners Category:Jazz tenor saxophonists Category:Jewish American musicians Category:Musicians from New York City Category:American people of Ukrainian-Jewish descent Category:American Jews Category:Deaths from liver cancer Category:Musicians from Philadelphia, Pennsylvania Category:People from the Bronx Category:Savoy Records artists Category:MGM Records artists Category:SteepleChase Records artists Category:Verve Records artists

an:Stan Getz ca:Stan Getz cs:Stan Getz da:Stan Getz de:Stan Getz et:Stan Getz es:Stan Getz eo:Stan Getz fa:استن گتز fr:Stan Getz io:Stan Getz it:Stan Getz he:סטן גץ lb:Stan Getz hu:Stan Getz nl:Stan Getz ja:スタン・ゲッツ no:Stan Getz oc:Stan Getz pcd:Stan Getz nds:Stan Getz pl:Stan Getz pt:Stan Getz ru:Гетц, Стэн sr:Стен Гец fi:Stan Getz sv:Stan Getz th:สแตน เก็ตส์ uk:Стен Гетц

name	João Gilberto
background	solo_singer
birth name	João Gilberto Prado Pereira de Oliveira
birth date	June 10, 1931
origin	Juazeiro, Bahia, Brazil
instrument	Singer, guitarist
genre	Bossa nova, Samba, Brazilian jazz, Latin jazz
occupation	Guitarist, singer, Songwriter
years active	1950–present
notable instruments	Guitar }}

João Gilberto Prado Pereira de Oliveira, known as João Gilberto (; June 10, 1931 in Juazeiro, Bahia), is a Brazilian singer and guitarist. His seminal recordings, including many songs by Antônio Carlos Jobim and Vinicius de Moraes, established the new musical genre of Bossa nova in the late 1950s.

Biography

From an early age, music was a part of João Gilberto's life. His grandfather bought him his first guitar at the age of 14. During high school, Gilberto teamed up with some of his classmates to form a small band. Gilberto, who led the band, was influenced by Brazilian popular songs, American jazz, and even some opera, among other genres. After trying his luck as a radio singer in Salvador, Bahia, the young Gilberto was recruited in 1950 as lead singer of the vocal quintet Garotos da Lua (Moon Boys) and moved to Rio de Janeiro. A year and a half later, he was dismissed from the group for his lack of discipline (he would often show up late to rehearsals or not at all).

João Gilberto's first recordings were released in Brazil as two-song 78-rpm singles between 1951 and 1959. In the 1960s, Brazilian singles evolved to the "double compact" format, and João would release some EPs in this new format, which carried 4 songs on a 45-rpm record.

For seven years, Gilberto's career was at a low ebb. He rarely had any work, was dependent on his friends for living quarters, and fell into chronic depression. Eventually, in 1955 he was rescued from this rut by Luiz Telles, leader of the vocal group Quitandinha Serenaders, who took him to Porto Alegre in southern Brazil. In this provincial town João Gilberto blossomed musically. Next he spent eight months with his sister in Minas Gerais, where he sequestered himself and played day and night, forging a personal style for voice and guitar that would come to be known as bossa nova. The first bossa nova song, titled "Bim-Bom", was written as Gilberto watched passing laundresses on the banks of the São Francisco River balance loads of clothes on their heads.

Just after this time Gilberto's father, upset by João's bizarre singing style and refusal to take "normal" work, committed him to a mental hospital. In a psychological interview there, Gilberto stared out the window and remarked, “Look at the wind depilating the trees.” The psychologist replied, “But trees have no hair, João,” to which Gilberto responded, “And there are people who have no poetry.” He was released after a week. The next year (1956) he returned to Rio and struck up old acquaintances, most significantly Antonio Carlos Jobim, who was by then working as a composer, producer and arranger with Odeon Records. Jobim was impressed with Gilberto's new style of guitar playing, and set about finding a suitable song to pitch the style to Odeon management.

Bossa nova ("new style") is a refined version of samba, de-emphasizing the percussive aspect of its rhythm and enriching the melodic and harmonic content. Rather than relying on the traditional Afro-Brazilian percussive instruments, João Gilberto often eschews all accompaniment except his guitar, which he uses as a percussive as well as a harmonic instrument, incorporating what would be the role of the tamborim in a full batucada band. The singing style he developed is almost whispering, economical, and without vibrato. He creates his tempo tensions by singing ahead or behind the beat.

This style, which Gilberto introduced in 1957, created a sensation in the musical circles of Rio's ''Zona Sul'', and many young guitarists sought to imitate it. It was first heard on record in 1958 in a recording of "Chega de Saudade", a song by Jobim and Vinicius de Moraes. Gilberto had first accompanied singer Elizeth Cardoso as her guitarist in a recording of this song, explaining his vision for the new style, but Cardoso would have none of his singing advice and sung it in the standard way. But shortly after this recording, João Gilberto made his own debut single of the same song, in the new style, followed by the 1959 LP, ''Chega de Saudade''. The song () turned into a hit, launching Gilberto's career and the bossa nova craze. Besides a number of Jobim compositions, the album featured older sambas and popular songs from the 1940s and '50s, all performed in Gilberto's distinctive style. This album was followed by two more in 1960 and 1961, by which time the singer featured new songs by a younger generation of performer/composers such as Carlos Lyra and Roberto Menescal.

By 1962, bossa nova had been embraced by North American jazz musicians such as Herbie Mann, Charlie Byrd, and Stan Getz, who invited Gilberto and Jobim to collaborate on what became one of the best-selling jazz albums of all time, ''Getz/Gilberto''. Through this album, Gilberto's then wife Astrud -- who had never sung professionally prior to this recording session -- became an international star, and the Jobim/de Moraes composition "The Girl from Ipanema" became a worldwide pop music standard.

João Gilberto lived in the United States from 1962 until 1969, when he moved to Mexico for two years. There he recorded ''João Gilberto en México'' (1970). ''João Gilberto'', aka the "White Album" (1973), featured hypnotic minimalist execution, limited to the singer, his guitar, and Sonny Carr on drums. 1976 saw the release of ''The Best of Two Worlds'', a reunion with Stan Getz, featuring singer Miúcha, (sister of Chico Buarque), who had become Gilberto's second wife in April 1965. ''Amoroso'' (1977) backed Gilberto with the lush string orchestration of Claus Ogerman, who had provided a similar sound to Jobim's instrumental recordings in the late 1960s and early 1970s. As had been the case for all of Gilberto's albums, the album consisted mostly of Jobim compositions, mixed with older sambas and an occasional North American standard from the 1940s.

João Gilberto returned to Brazil in 1980. The following year saw the release of ''Brasil'', with guests Gilberto Gil and Caetano Veloso, who in the late 1960s had founded the Tropicalia movement, a fusion of Brazilian popular music with foreign pop. The 1991 release ''João'', with orchestrations by Clare Fischer, was unusual in its lack of even a single Jobim composition, instead featuring songs in English, French, Italian, and Spanish, plus old sambas and the solitary contemporary song "Sampa" (Caetano Veloso). Also released in 1991 was the album ''Canto do Pajé'' by Veloso's sister Maria Bethânia, on which Bethânia and Gilberto sing an intimate medley of "Maria" (Ary Barroso/Luiz Peixoto) and "Linda Flor"' (Henrique Vogeler/Luiz Peixoto/Marques Pôrto), accompanied solely by his guitar. ''João Voz e Violão'' (2000) was an homage to the music of Gilberto's youth as well as a nod to producer Caetano Veloso.

Evenly interspersed with these studio recordings have been the live recordings ''Live in Montreux''; ''João Gilberto Prado Pereira de Oliveira''; ''Eu Sei Que Vou Te Amar''; ''Live at Umbria Jazz''; and ''Live in Tokyo''.

While all of Gilberto's albums since ''Getz/Gilberto'' have been released on CD, the first three domestic albums were released in 1988 by EMI on a single CD entitled ''The Legendary João Gilberto: The Original Bossa Nova Recordings (1958–1961)''. The disc also included three tracks from the singer's 1959 ''Orfeu Negro'' EP: "Manhã de Carnaval," ''O Nosso Amor,'' and ''A Felicidade,'' the latter two merged into a single medley track to fit within the recording time of a CD. After its release, Gilberto successfully sued to have the title removed from sale as an unauthorized release of his artistic works.

João Gilberto has long had a reputation as an artist who values his privacy. He lives in an apartment in Leblon, Rio de Janeiro, refusing interviews and avoiding crowds. He also has high standards for acoustics and noise control. He has been known to walk out on performances in response to audiences that interfere with the music by creating inappropriate noise, or out of theaters possessing poor acoustics; on several occasions he requested that the air conditioning be turned off at concert venues. During a recording session of the song "Rosa Morena" Gilberto insisted on 28 takes to get the pronunciation of the 'O' in "Rosa" just right.

He continues to perform, very occasionally, to sell-out crowds in Brazil as well as in Europe, North America, and Japan. His planned public performances in Madrid (2009) and New York (2010) were cancelled at short notice. He is the father of singer Bebel Gilberto (Isabel), via his marriage to Miúcha.

In 1997, João sued record label EMI over a reissuing of several of his early works which he contended were poorly remastered. According to The New York Times, "A statement by his lawyer at the time declared that the reissues contained sound effects that 'did not pertain to the original recordings, banalizing the work of a great artist.'" Following the incident, EMI ceased to manufacture the albums in question, and, as of 2008, the lawsuit is yet to reach a decision.

Eviction

In January 2011, Gilberto was notified by the State Court to leave his apartment in Leblon, Rio de Janeiro, where he has lived for fifteen years. According to the lawyer Paulo Roberto Moreira Mendes, the property belongs to Georgina Brandolini d'Adda, who criticizes the eccentric behavior of the musician.

Discography

1951: ''Quando Você Recordar/Amar é Bom''

1951: ''Anjo Crue/Sem Elal''

1952: ''Quando Ela Sai/Meia Luz''

1958: ''Chega de Saudade/Bim Bom''

1958: ''Desafinado/Hô-bá-lá-lá''

1959: ''Chega de Saudade''

1960: ''O Amor, o Sorriso e a Flor''

1961: ''João Gilberto''

1961: ''Brazil's Brilliant João Gilberto''

1962: ''João Gilberto Cantando as Musicás do Filme Orfeo do Carnaval''

1962: ''Boss of Bossa Nova''

1962: ''Bossa Nova at Carnegie Hall''

1963: ''The Warm World of João Gilberto''

1964: ''Getz/Gilberto''

1965: ''Herbie Mann & João Gilberto with Antonio Carlos Jobim''

1966: ''Getz/Gilberto Vol. 2''

1970: ''João Gilberto en Mexico''

1973: ''João Gilberto''

1976: ''The Best of Two Worlds''

1977: ''Amoroso''

1977: ''Gilberto and Jobim''

1980: ''João Gilberto Prado Pereira de Oliveira''

1981: ''Brasil''

1985: ''Interpreta Tom Jobim''

1985: ''Meditação''

1986: ''Live in Montreux''

1987: ''Live in Montreux''

1988: ''O Mito''

1990: ''Stan Getz meets João & Astrud Gilberto''

1991: ''João''

1994: ''Eu Sei que Vou Te Amar''

2000: ''João Voz e Violão''

2002: ''Live at Umbria Jazz''

2004: ''In Tokyo''

-João Gilberto's first five records released from 1951-1958 were all 78 rpm single editions.

-The album ''João Gilberto'' released in 1970 is the same version as ''João Gilberto en Mexico'' in the same year but by different record companies.

-''Live in Montreux'' from 1987 is the same version as the one released in 1986. The version in 1986 was released in Brasil whereas the 1987 one was released in USA. Both were recorded live.

References

, "João Gilberto's Pioneering Bossa Nova Records Are Caught In a Legal Limbo" by The New York Times

, "The Man Who Invented Bossa Nova" by Daniella Thompson

Sources

Castro, Ruy (trans. by Lysa Salsbury). "Bossa Nova: The Story of the Brazilian Music That Seduced the World." 2000. 1st English language edition. A Capella Books, an imprint of Chicago Review Press, Inc. ISBN 1-55652-409-9 First published in Brasil by Companhia das Letras. 1990.

McGowan, Chris and Pessanha, Ricardo. "The Brazilian Sound: Samba, Bossa Nova and the Popular Music of Brazil." 1998. 2nd edition. Temple University Press. ISBN 1-56639-545-3

Gridley, Mark. Jazz Styles: History and Analysis. 9th. NJ: Pearson Prentice Hall, Print.

External links

Plain João—The Man Who Invented Bossa Nova, a biographical profile by Daniella Thompson

João Gilberto Discography by Laura Pelner McCarthy

João Gilberto Discography by SomBras (meanwhile a dead link)

Nos bastidores do legendario concerto da bossa nova 1962

The Brazilian Sound: Brazilian Music & Culture Website

Bossa Nova Guitar Transcriptions (Mostly of songs performed by João Gilberto)

João Gilberto Discography on Slipcue.com

Category:1931 births Category:Living people Category:Bossa nova singers Category:Bossa nova guitarists Category:Brazilian jazz singers Category:Brazilian jazz guitarists Category:Brazilian male singers Category:Latin jazz singers Category:People from Bahia Category:Grammy Award winners Category:Portuguese-language singers Category:Música Popular Brasileira singers

bg:Жуау Жилберту de:João Gilberto es:João Gilberto fa:ژوآئو ژیلبرتو fr:João Gilberto gl:João Gilberto ko:주앙 지우베르투 io:João Gilberto id:João Gilberto it:João Gilberto he:ז'ואאו ז'ילברטו ka:ჟოაო ჟილბერტო hu:João Gilberto nl:João Gilberto ja:ジョアン・ジルベルト no:João Gilberto pl:João Gilberto pt:João Gilberto ro:João Gilberto ru:Жилберту, Жуан sl:João Gilberto fi:João Gilberto sv:João Gilberto th:ชูเอา ชิลเบร์ตู uk:Жуан Жілберту

name	Quincy Jones
background	non_performing_personnel
birth name	Quincy Delightt Jones, Jr.
alias	Leigh Warren
born	March 14, 1933Chicago, Illinois, U.S.
origin	Seattle, Washington, U.S.
instrument	Trumpet, French horn, drums, vocals, piano synthesizer
genre	R&B;, funk, soul, big band, swing, jazz, bossa nova, hip-hop, rock n roll
occupation	Musician, conductor, producer, arranger, composer, film composer
years active	1951–present
label	Columbia, Mercury, Qwest
associated acts	Lionel Hampton, Dizzy Gillespie, Toots Thielemans, Aaliyah, Michael Jackson, Rod Temperton, The Brothers Johnson, Frank Sinatra, Eddie Van Halen, Dinah Washington, Dean Martin, Patti Austin, Tevin Campbell, Marvin Gaye, Stevie Wonder, Will Smith, 2Pac, Trey Songz
website	}}

Quincy Delightt Jones, Jr. (born March 14, 1933) is an American record producer and musician. A conductor, musical arranger, film composer, television producer, and trumpeter. His career spans five decades in the entertainment industry and a record 79 Grammy Award nominations, 27 Grammys, including a Grammy Legend Award in 1991. He is particularly recognized as the producer of the album ''Thriller'', by pop icon Michael Jackson, which has sold more than 110 million copies worldwide, and as the producer and conductor of the charity song “We Are the World”. He has also done production work on the new Jay-Z/ Kanye West collaborative album , Watch the Throne.

In 1968, Jones and his songwriting partner Bob Russell became the first African Americans to be nominated for an Academy Award for Best Original Song ''The Eyes of Love'' from the Universal Pictures film ''Banning (film)''. That same year, he became the first African American to be nominated twice within the same year when he was nominated for Best Original Score for his work on the music of the 1967 film ''In Cold Blood''. In 1971, Jones would receive the honor of becoming the first African American to be named musical director/conductor of the Academy Awards ceremony. He was the first African American to win the Academy's Jean Hersholt Humanitarian Award, in 1995. He is tied with sound designer Willie D. Burton as the most Oscar-nominated African American, each of them having seven nominations. At the 2008 BET Awards, Quincy Jones was presented with the Humanitarian Award. He was played by Larenz Tate in the 2004 biopic about Ray Charles, ''Ray''.

Early life

Jones was born in Chicago, the oldest son of Sarah Frances (née Wells), an apartment complex manager and bank executive who suffered from schizophrenia, and Quincy Delightt Jones, Sr., a semi-professional baseball player and carpenter. Jones discovered music in grade school at Raymond Elementary School on Chicago's South Side and took up the trumpet. When he was 10, his family moved to Bremerton, Washington and he attended Seattle's Garfield High School. It was in Seattle that Jones first met a 17-year-old Ray Charles. He then attended Somerset Academy.

In 1951, Jones won a scholarship to the Schillinger House (now Berklee College of Music) in Boston, Massachusetts. However, he abandoned his studies when he received an offer to tour as a trumpeter with the bandleader Lionel Hampton. While Jones was on the road with Hampton, he displayed a gift for arranging songs. Jones relocated to New York City, where he received a number of freelance commissions arranging songs for artists like Sarah Vaughan, Dinah Washington, Count Basie, Duke Ellington, Gene Krupa, and his close friend Ray Charles.

Musical career

In 1956, Jones toured again as a trumpeter and musical director of the Dizzy Gillespie Band on a tour of the Middle East and South America sponsored by the United States Information Agency. Upon his return to the United States, Jones got a contract from ABC-Paramount Records and commenced his recording career as the leader of his own band.

In 1957, Quincy settled in Paris where he studied composition and theory with Nadia Boulanger and Olivier Messiaen. He also performed at the Paris Olympia. Jones became music director at Barclay Disques, the French distributor for Mercury Records.

During the 1950s, Jones successfully toured throughout Europe with a number of jazz orchestras. As musical director of Harold Arlen's jazz musical ''Free and Easy'', Quincy Jones took to the road again. A European tour closed in Paris in February 1960. With musicians from the Arlen show, Jones formed his own big band, called The Jones Boys, with 18 artists—plus their families—in tow. The band included jazz greats Eddie Jones and fellow trumpeter Reunald Jones, and organized a tour of North America and Europe. Though the European and American concerts met enthusiastic audiences and sparkling reviews, concert earnings could not support a band of this size, and poor budget planning made it an economic disaster; the band dissolved and the fallout left Jones in a financial crisis. Quoted in ''Musician'' magazine, Jones said about his ordeal, "We had the best jazz band in the planet, and yet we were literally starving. That's when I discovered that there was ''music'', and there was the ''music business''. If I were to survive, I would have to learn the difference between the two." Irving Green, head of Mercury Records, got Jones back on his feet with a personal loan and a new job as the musical director of the company's New York division, where he worked with Doug Moody, who would later go on to form Mystic Records . In 1964, Jones was promoted to vice-president of the company, thus becoming the first African American to hold such an executive position in a white-owned record company.

In that same year, Quincy Jones turned his attention to another musical arena that had long been closed to blacks—the world of film scores. At the invitation of director Sidney Lumet, he composed the music for ''The Pawnbroker''. It was the first of his 33 major motion picture scores.

Following the success of ''The Pawnbroker'', Jones left Mercury Records and moved to Los Angeles. After his score for ''The Slender Thread'', starring Sidney Poitier, he was in constant demand as a composer. His film credits in the next five years included ''Walk, Don't Run'', ''In Cold Blood'', ''In the Heat of the Night'', ''A Dandy in Aspic'', ''Mackenna's Gold'', The Italian Job, ''Bob & Carol & Ted & Alice'', ''The Lost Man'', ''Cactus Flower'', and ''The Getaway''. In addition, he also composed The Streetbeater, which is the familiar theme song for the television sitcom ''Sanford and Son'', starring close friend Redd Foxx.

In the 1960s, Jones worked as an arranger for some of the most important artists of the era, including Frank Sinatra, Ella Fitzgerald, Peggy Lee, and Dinah Washington. Jones's solo recordings also garnered acclaim, including ''Walking in Space'', ''Gula Matari'', ''Smackwater Jack'', ''You've Got It Bad, Girl'', ''Body Heat'', ''Mellow Madness'', and ''I Heard That!!''.

He is well known for his 1962 tune "Soul Bossa Nova", which originated on the ''Big Band Bossa Nova'' album. "Soul Bossa Nova" was a theme for the 1998 World Cup, the Canadian game show ''Definition'', the Woody Allen film ''Take the Money and Run'' and the Mike Myers movie ''Austin Powers in Goldmember'', and was sampled by Canadian hip hop group Dream Warriors for their song, "My Definition of a Boombastic Jazz Style".

Jones was also responsible for producing all four singles for Lesley Gore selling million during the early and mid-sixties, including "It's My Party" (UK #8; US #1), "Judy's Turn To Cry" (US #5), "She's A Fool" (also a US #5) in 1963, and "You Don't Own Me" (US #2 for four weeks in 1964). He continued to produce for Lesley through to 1966.

Jones's 1981 album ''The Dude'' yielded multiple hit singles, including "Ai No Corrida" (a remake of a song by Chaz Jankel), "Just Once" and "One Hundred Ways", the latter two featuring James Ingram on lead vocals and marking Ingram's first hits.

In 1985, Jones scored the Steven Spielberg film adaptation of ''The Color Purple''. He and Jerry Goldsmith (from ''Twilight Zone: The Movie'') are the only composers besides John Williams to have scored a Spielberg theatrical film. After the 1985 American Music Awards ceremony, Jones used his influence to draw most of the major American recording artists of the day into a studio to lay down the track "We Are the World" to raise money for the victims of Ethiopia's famine. When people marveled at his ability to make the collaboration work, Jones explained that he'd taped a simple sign on the entrance: "Check Your Ego At The Door".

Starting in the late 1970s, Jones tried to convince Miles Davis to re-perform the music he had played on several classic albums that had been arranged by Gil Evans in the 1960s. Davis had always refused, citing a desire not to revisit the past. In 1991, Davis, then suffering from pneumonia, relented and agreed to perform the music at a concert at the Montreux Jazz Festival. The resulting album from the recording, ''Miles & Quincy Live at Montreux'', was Davis' last released album (he died several months afterward) and is considered an artistic triumph.

In 1993, Jones collaborated with David Salzman to produce the concert extravaganza ''An American Reunion'', a celebration of Bill Clinton's inauguration as president of the United States. In 1994, Salzman and Jones formed the company Quincy Jones/David Salzman Entertainment (QDE) with Time/Warner Inc. QDE is a diverse company which produces media technology, motion pictures, television programs (''In the House'', ''The Fresh Prince of Bel-Air'', and ''MADtv''), and magazines (''Vibe'' and ''Spin'').

In 2001, he published his autobiography, ''Q: The Autobiography of Quincy Jones''. On July 31, 2007, Jones partnered with Wizzard Media to launch the Quincy Jones Video Podcast. In each episode, Jones shares his knowledge and experience in the music industry. The first episode features Jones in the studio, producing "I Knew I Loved you" for Celine Dion, which is featured on the Ennio Morricone tribute album, ''We All Love Ennio Morricone''. Jones is also noted for helping produce Anita Hall's CD, ''Send Love'', which was released in 2009.

Work with Michael Jackson

While working on the film ''The Wiz'', Michael Jackson asked Jones to recommend some producers for Jackson's upcoming solo record. Jones offered some names, but eventually asked Jackson if he would like for him to produce the record. Jackson replied that he would, and the result, ''Off The Wall'', has sold approximately 20 million copies and made Jones the most powerful record producer in the industry. Jones's and Jackson's next collaboration ''Thriller'' has sold a reputed 110 million copies and has become the highest-selling album of all time. Jones also worked on Michael Jackson's album ''Bad'', which has sold 32 million copies. After the ''Bad'' album, Jones recommended Jackson to New Jack Swing inventors Teddy Riley and Babyface so Jackson could "update" his sound.

In a 2002 interview, when Jackson was asked if he would ever work with Jones again he replied, "The door is always open". However, in 2007, when NME.COM asked Jones a similar question, he said "Man, please! We already did that. I have talked to him about working with him again but I've got too much to do. I've got 900 products, I'm 74 years old."

Following Jackson's death on June 25, 2009, Jones said:

}}

Work with Frank Sinatra

Jones first worked with Frank Sinatra when he was invited by Princess Grace to arrange a benefit concert at the Monaco Sporting Club in 1958. Six years later, Sinatra hired him to arrange and conduct Sinatra's second album with Count Basie, ''It Might as Well Be Swing'' (1964). Jones conducted and arranged 1966's live album with the Basie Band, ''Sinatra at the Sands''. Jones was also the arranger/conductor when Sinatra, Sammy Davis, Jr., Dean Martin, and Johnny Carson performed with the Basie orchestra in St. Louis, Missouri, in a benefit for Dismas House in June 1965. The fund-raiser was broadcast to a number of other theaters around the country and eventually released on DVD. Later that year, Jones was also the arranger/conductor when Sinatra and Basie appeared on ''The Hollywood Palace'' TV show on October 16, 1965. Nineteen years later, Sinatra and Jones teamed up for 1984's ''L.A. Is My Lady'', after a joint Sinatra-Lena Horne project was abandoned.

Media appearances

Jones had a brief appearance in the 1990 video for The Time song "Jerk Out". Jones was a guest star on an episode of ''The Boondocks'' in which he and the main character, Huey Freeman, co-produced a Christmas play for Huey's elementary school. He appeared with Ray Charles in the music video of their song 'One Mint Julep' and also with Ray Charles and Chaka Khan in the music video of their song "I'll Be Good to You".

Quincy Jones hosted an episode of the long-running NBC sketch comedy show ''Saturday Night Live'' on February 10, 1990 (during SNL's 15th season [the 1989–1990 season]). The episode was notable for having 10 musical guests (the most any ''SNL'' episode has ever had in its 30-plus years on the air): Tevin Campbell, Andrae Crouch, Sandra Crouch, rappers Kool Moe Dee and Big Daddy Kane, Melle Mel, Quincy D III, Siedah Garrett, Al Jarreau, and Take 6, and for a performance of Dizzy Gillespie's "Manteca" by The SNL Band (conducted by Quincy Jones himself). Jones also impersonated Marion Barry in the then-recurring sketch, "The Bob Waltman Special". Quincy Jones would later be producer for his own sketch comedy show, FOX's ''MADtv''.

Jones appeared in the Walt Disney Pictures film ''Fantasia 2000'', introducing the set piece of George Gershwin's ''Rhapsody in Blue''. Two years later he made a cameo appearance as himself in the film Austin Powers in Goldmember. On February 10, 2008, Jones presented at the Grammy Awards. With Usher he presented Album of The Year to Herbie Hancock.

On January 6, 2009, Quincy Jones appeared on NBC's ''Last Call with Carson Daly'' to discuss various experiences within his prolific career. Also discussed was the informal notion of Jones becoming the first minister of culture for the United States — following the pending inauguration of the 44th U.S. President, Barack Obama. Carson Daly indicated the U.S. as being one of the only leading world countries, along with Germany, to exclude this position from the national government. This idea has also been subject to more in-depth discussion on NPR and the ''Chronicle of Higher Education''.

On December 12, 2009, Jones performed at a private reception for USAA employees at the Alamo Dome, in San Antonio, TX.

On February 5, 2011 Quincy Jones appeared on CBS's Late night show with David Letterman.

Awards and recognition

Discography

Personal life

Jones has been married three times and has seven children:

to Jeri Caldwell from 1957 to 1966; they had one daughter, Jolie Jones Levine.

to Ulla Andersson from 1967 to 1974; they had two children, Martina Jones and son Quincy Jones III;

to actress Peggy Lipton from 1974 to 1990; they had two daughters, actresses Kidada Jones and Rashida Jones.

Jones also had a brief affair with Carol Reynolds and had a daughter, Rachel Jones.

Jones dated and lived with actress Nastassja Kinski from 1991 until 1995. In February 1993, their daughter Kenya Julia Miambi Sarah Jones was born.

For the 2006 PBS television program ''African American Lives'', Jones had his DNA tested; the results found that on his paternal line (Y DNA) he is of European ancestry and on his maternal side (mt DNA) he is of West African/Central African ancestry of Tikar descent. The series revealed plenty of surprises, including the fact that Quincey Jones' family hails from an area in Cameroon known for its music. On hearing the information, Jones said: "I would have never guessed."

Jones has never learned to drive, citing an accident in which he was a passenger (at age 14) as the reason.

Social activism

Jones's social activism began in the 1960s with his support of Dr. Martin Luther King Jr. Jones is one of the founders of the Institute for Black American Music (IBAM), whose events aim to raise enough funds for the creation of a national library of African American art and music. Jones is also one of the founders of the ''Black Arts Festival'' in his hometown of Chicago. In the 1970s Jones formed The Qunicy Jones Workshops. Meeting at the Los Angeles Landmark Variety Arts Center, the workshops educated and honed the skills of inner city youth in musicianship, acting and songwriting. Among its Alumni were Alton Mc Clain who had a hit song with Alton Mc Clain and Destiny, and Mark Wilkins who co-wrote the hit song "Havin' A Love Attack" with Mandrill and went on to become the National Promotion Director for Punk / Thrash record label Mystic Records. For many years, he has worked closely with Bono of U2 on a number of philanthropic endeavors. He is the founder of the ''Quincy Jones Listen Up Foundation'', a nonprofit that connects youths with technology, education, culture and music. One of the organization's programs is an intercultural exchange between underprivileged youths from Los Angeles and South Africa.

In 2004, Jones helped launch the We Are the Future (WAF) project, which gives children in poor and conflict-ridden areas a chance to live their childhoods and develop a sense of hope. The program is the result of a strategic partnership between the Glocal Forum, the Quincy Jones Listen Up Foundation and Hani Masri, with the support of the World Bank, UN agencies and major companies. The project was launched with a concert in Rome, Italy, in front of an audience of half a million people.

Jones supports a number of other charities including the NAACP, GLAAD, Peace Games, AmfAR and The Maybach Foundation. Jones serves on the Advisory Board of HealthCorps. On July 26, 2007, he announced his endorsement of Hillary Clinton for president. But with the election of Barack Obama, Quincy Jones said that his next conversation "with President Obama [will be] to beg for a secretary of arts," prompting the circulation of a petition on the Internet asking Obama to create such a Cabinet-level position in his administration.

In 2001, he became an honorary member of the Board of Directors of The Jazz Foundation of America. Jones worked with The Jazz Foundation of America to save the homes and the lives of America's elderly jazz and blues musicians including those who survived Hurricane Katrina.

Brazilian culture

Jones is a great admirer of Brazilian culture and a film on Brazil's Carnival is among his recent plans: "one of the most spectacular spiritual events on the planet"; Simone, whom he cites as "one of the world´s greatest singers", Ivan Lins, Milton Nascimento and Gilson Peranzzetta, "one of the five biggest arrangement producers of the world" stand as close friends and partners in his recent works.

See also

List of number-one dance hits (United States)

List of artists who reached number one on the US Dance chart

References

External links

Official Quincy Jones Website

Archive of American Television interview

Mix Interview: Quincy Jones

American Masters - Quincy Jones: The Story of an American Musician

Association for Computing Machinery Video Interview with Quincy Jones

Quincy Jones speech on the importance of Cultural Diplomacy throughout the world, Beijing, China, May 26, 2006

Quincy Jones's oral history video excerpts at The National Visionary Leadership Project

Video clip of Quincy Jones's speech on education at the American Film Institute for the 2006 ACM Computers in Entertainment Scholarship Awards (November 4, 2006)

Category:1933 births Category:Academy Honorary Award recipients Category:African American musicians Category:African American composers Category:American composers Category:American dance musicians Category:American film score composers Category:American jazz trumpeters Category:American music arrangers Category:American record producers Category:American television producers Category:Bebop trumpeters Category:Bell Records artists Category:Berklee College of Music alumni Category:Cameroonian people Category:Commandeurs of the Légion d'honneur Category:Crossover jazz trumpeters Category:Grammy Award winners Category:MusiCares Person of the Year Honorees Category:Harvard University people Category:Ivor Novello Award winners Category:Jazz composers Category:Jazz-pop trumpeters Category:Kennedy Center honorees Category:Living people Category:Musicians from Chicago, Illinois Category:Musicians from Washington (state) Category:Qwest Records artists Category:Songwriters from Illinois Category:Swing trumpeters Category:National Humanities Medal recipients

az:Kuinsi Cons cs:Quincy Jones cy:Quincy Jones da:Quincy Jones de:Quincy Jones es:Quincy Jones fa:کوئینسی جونز fr:Quincy Jones ko:퀸시 존스 io:Quincy Jones id:Quincy Jones it:Quincy Jones he:קווינסי ג'ונס jv:Quincy Jones sw:Quincy Jones lv:Kvinsijs Džonss nl:Quincy Jones ja:クインシー・ジョーンズ no:Quincy Jones oc:Quincy Jones pl:Quincy Jones pt:Quincy Jones ro:Quincy Jones ru:Джонс, Куинси sk:Quincy Jones fi:Quincy Jones sv:Quincy Jones th:ควินซี โจนส์ tr:Quincy Jones uk:Квінсі Джонс yo:Quincy Jones zh:昆西·琼斯